By David A. McDonald
David A. McDonald rethinks the traditional background of the Palestinian challenge via an ethnographic research of track and musicians, protest songs, and pop culture. Charting a ancient narrative that stretches from the late-Ottoman interval during the finish of the second one Palestinian intifada, McDonald examines the transferring politics of track in its capability to either mirror and form basic facets of nationwide id. Drawing case reviews from Palestinian groups in Israel, in exile, and below profession, McDonald grapples with the theoretical and methodological demanding situations of tracing "resistance" within the well known mind's eye, trying to display the nuanced ways that Palestinians have faced and antagonistic the traumas of international profession. the 1st of its variety, this booklet bargains an in-depth ethnomusicological research of the Israeli-Palestinian clash, contributing a performative standpoint to the bigger scholarly dialog approximately one of many world's so much contested humanitarian matters.
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Extra info for My Voice Is My Weapon - Music, Nationalism and the Poetics of Palestinian Resistance
Example text
They understood that performance inscribes within the minds of participants powerful indices of national identity through shared experience and history. And while each believed music and musical performance to be powerful modes of communicating nationalist sentiment, they each, in effect, defined the nation in radically different terms. In activism Kamal Khalil defined the nation in shared experiences of forced exile and the struggle for return. In folklore Abu Hani defined the nation through the preservation of seemingly authentic Palestinian lifeways and practices.
As the artists introduced above navigate deep-seated experiences of exile and occupation, they do so by employing a poetics made meaningful from within the power relations from which they operate. If we are to fully move beyond the tendency to romanticize these expressive practices as resistance, it is essential to understand each performative act, each song, poem, dance, gesture, as a tool for understanding the dynamics of power from which it arose. In 26 ✹ Nationalism, Belonging, Resistance their myriad and diverse articulations of “Palestine,” each of the above artists attempts to satisfy specific needs and values born of multiple and diffuse experiences of dispossession.
By repositioning our focal awareness toward these ephemeral moments of social performance, moments of active identification, we begin to understand the performativity of belonging. Performativity, a term arising from within linguistics yet applied so beautifully in the gender theory of Judith Butler, is of central concern to this discussion, for it problematizes conventional understandings of belonging and identity, by focusing on the very production of selves as material effects of these identification processes.